A Folk Mass

Open Upthe

DoorsThe Musical Ministry

of

Fletcher Clark

© 2018, Flécha3 Music Publishing (ASCAP)

Lockhart, Texas All Rights Reserved.

Communion: Bread of the World, In Mercy Broken. . . . . . . . . . . . . . . . . . . . . . . 37, 38

Come All to the House of God! . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23, 24 Processional: Shall We Come to Emmanuel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20-21, 22

Breath of God. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27, 28-29

My Flesh Is Food Indeed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39, 40-41

Kyrie Eleison . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4, 5

The Lord’s Prayer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16-17, 18Sanctus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13, 14-15

Offertory: Every Sinner Has a Future . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30-31, 32 Fishes & Loaves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34-35, 36

More Will Be Revealed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45, 46-47

The Apostles’ Creed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9, 10

Music for the Service

Gradual: He Gave His Son . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25, 26

Doxology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11, 12

Recessional: Open Up the Doors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42-43, 44

Gloria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-7, 8

Music for the Liturgy

Many modern Episcopal churches offer ‘folk mass’ services, which colloquially refers not so

much to the genre as to the instrumentation: choirs, organs, pianos and classical string and wind

ensembles are replaced by guitars, mandolins, banjos, fiddles, percussion, drums, electric

instruments, saxes, etc. Thus the distinctions among ‘folk mass’, ‘jazz mass’, ‘praise music’,

‘modern gospel’, ‘faith music’, and ‘contemporary Christian’ have become somewhat arbitrary.

The Music for the Liturgy consists of adapted musical settings for the Episcopal Holy

Eucharist: Rite Two. The Music for the Service consists of original songs for Processional,

Gradual/Sequence, Offertory, Communion, and Recessional. They are presented here both in

‘leadsheet’ form (melody/lyric/guitar chords for use in service sheets) and in ‘hymnal’ form

(voiced for organ/choir). (For songbook layout, the sequence of the versions varies.)

In the 1960’s, the spirit of Vatican II ushered in wide-ranging changes in the traditional Roman

Catholic mass which rippled through many Protestant faiths as well. The role and nature of

music in churches changed, as did tastes and trends in American popular music. The push to

make the church more ‘relevant’ and ‘accessible’ coincided then with the rise of ‘folk music’ in

the United States. The rich traditions of American gospel music and Negro spirituals blended

with the Anglican-influenced nineteenth century congregational hymns of the Shakers and

others to become the foundation for the emergence of the ‘folk mass’.

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Kyrie Eleisonsetting by Fletcher Clark

© 2018, Flécha3 Music Publishing (ASCAP)

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Kyrie Eleisonsetting by Fletcher Clark

© 2018, Flécha3 Music Publishing (ASCAP)

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Shall We Come to Emmanuel (2015) As the date neared for the first presentation of my complete ‘folk mass’, what was missing was a truly appropriate Processional for the traditional entrance of clergy, lay ministers and acolytes. Something of a simple march with an upbeat theme and lyric. My solution was to use the double entendre of ‘Emmanuel’, being both the name of my church in Lockhart and the familiar sobriquet for the Lord Jesus Christ.

He Gave His Son (2013) Songwriters often write by assignment or commission. When we needed an Easter hymn, Lenten studies and observances had prepared me to value my blessings. Both constrained and equipped by our senses in our dimension-bound corporeal reality, God has given us all we need to cope with this world and to prepare us for the pure existence of spirit. I wanted to celebrate this honestly, simply following the commission I had been given. It pleases me that Fr. Tom particularly likes this hymn.

Every Sinner Has a Future (2010) While riding my motorcycle through the Central Texas countryside, this message was on a marquee in front of a small rural church: Every Saint has a Past, Every Sinner has a Future. I thought about the road I was on - where I had been and where I was going. I began reflecting on one's path from both perspectives - before the acceptance of God's presence and after the willingness to place His will before mine. After writing the song down, I found out sometime later the basis for the message on the marquee. English playwright Oscar Wilde had once famously written, "Every saint has a past and every sinner has a future." My Muse had me transpose the phrases, and I prefer the rhythm of this scansion.

Breath of God (2018) We don’t get to choose the moments when or where inspiration prompts us. It can happen to me while riding my motorcycle, doing the dishes, playing my guitar, or from a dead sleep at 4:00am. As an Alternate Delegate for our 2018 Council of the Episcopal Diocese of West Texas, I was raptly enjoying the Annual Address of Bishop David Reed. Feeling that familiar tap on the shoulder, I began writing the lyrics. Leaving the word-smithing and tune-smithing until later, the hymn was completed before the Bishop concluded his remarks.

Come All to the House of God! (2018) Originally, I had written a brisk recessional in cut time with the title, Go Forth in the Name of God. It was famously said by Papa Joseph Haydn: “Bad composers borrow; good composers steal.” I have often followed this sage advice as the practice of many composers and songwriters. It is not really “stealing”, however – merely “re-purposing”, in the modern parlance. In this instance, the title and lyric were altered to adapt the hymn as be a processional march in simple common time.

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Shall We Come to EmmanuelFletcher Clark

© 2018, Flécha3 Music Publishing (ASCAP)

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Shall We Come to EmmanuelFletcher Clark

© 2018, Flécha3 Music Publishing (ASCAP)

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